Kiss Me Kate (No. 48)

When it comes to adaptations of Shakespeare’s work, you definitely have your hits and your misses. Sometimes, the straight, by-the-play performances are really well done (1993′s Much Ado About Nothing; both Laurence Olivier’s 1948 version AND Kenneth Branagh’s 1996 version of Hamlet, despite Olivier’s revisions of the original text); in some cases, they are decidedly not (1999′s A Midsummer Night’s Dream, which suffers from piss-poor casting; the horrendous 1996 Baz Luhrmann version of Romeo+Juliet, a spectacle that makes me fear for the director’s upcoming bastardization adaptation of The Great Gatsby). And some of the loose adaptations are really fun–I am particularly fond of 1956’s Forbidden Planet (which shares many similarities with The Tempest, my personal favorite of the Bard’s works); the 1961 musical West Side Story (a lovely take on the star-crossed lovers theme from Romeo and Juliet); and 1991′s My Own Private Idaho (which is based, in part, on Henry IV, Part I). And I will readily admit that I shall always have a soft spot in my heart for 1999′s 10 Things I Hate About You (hey, that really movie spoke to me as a teenager, okay?).

As with 10 Things, the enchanting musical Kiss Me Kate (1953) takes its cue from The Taming of the Shrew, one of Shakespeare’s more enjoyable comedies. The film is based on the Cole Porter musical of the same name, and its structure is quite Shakespearean—it has the same “play-within-in-play” setup that is one of the hallmarks of Hamlet.

Fred (Howard Keel) and Lilli (Kathryn Grayson) are bickering actors who were once married, though their union ended acrimoniously. Still, each remains in love with the other, though neither is willing to actually admit it. When Cole Porter (Ron Randell) devises a new musical production of The Taming of the Shrew (which is called, in a moment of meta-fantastic glory, Kiss Me Kate), Fred and Lilli are reunited onstage together to play the lead roles of Petruchio and Katherine. Lilli, who is engaged to another man, is nonetheless jealous of Lois Lane (Ann Miller), the sexy dancer who will be playing her character’s sister, Bianca. Lane, in the meantime, is dallying with notorious gambler Bill Calhoun (Tommy Rall), who is playing the role of Lucentio. Bill has lost a few thousand dollars and has signed an IOU in Fred’s name; as the show gets underway, two gangsters, Lippy (Keenan Wynn) and Slug (James Whitmore), arrive to collect on “Fred’s” debt. In the meantime, Lilli, fed up with what she sees as Fred’s philandering (due to a series of misunderstandings), decides to leave the production in the middle of the show. Things backstage—and on—dissolve into utter chaos, but somehow, the show must go on.

The movie version of the stage hit (which, incidentally, was the very first winner of the Tony Award for Best Musical) was sanitized quite a bit in its journey to the big screen. Most notably, some of the dialogue (including any usage of the word “bastard”) and the lyrics of many of Porter’s tunes had to be altered or—in the case of much of “Brush Up Your Shakespeare”— deleted (God forbid film audiences hear Lippy and Slug sing the lines, “When your baby is pleading for pleasure/Let her sample your Measure for Measure”). The songs are also rearranged in the film; “Too Darn Hot” becomes a solo for Lois and is moved to the start of the film; “So in Love” becomes a duet between Fred and Lilli (in the musical, each sings this one solo, Lilli in Act One and Fred in Act Two); “Brush Up Your Shakespeare” is moved from an onstage improvisation by the gangsters to an impromptu backstage number sung only to Fred in the film.

The only song on the film’s soundtrack that did not come from the musical is the love song “From This Moment On,” which Porter originally wrote for his 1950 show Out of This World. That musical floundered when it hit the stage, but Porter plucked “Moment” from the soundtrack and used it in the film version of Kate three years later. When the stage production was revived on Broadway in 1999 (it, too, went on to win a Tony, for Best Revival), the song was worked into the second act of the show.

The film greatly benefits from a talented and enthusiastic cast. Kiss Me Kate marks the second pairing of Keel and Grayson; the pair had starred in Show Boat two years earlier (also for director George Sidney). The two actors play well against one another, demonstrating an easy chemistry that underscores the attraction that still remains between the estranged husband and wife. Keel is delightfully bombastic as Fred, and Grayson plays the “shrew” with an underlying vulnerability that makes Lilli an endearing, albeit appropriately bitchy, character (perhaps that’s why I like Lilli so much …?). Miller, who to me has always been somewhat underrated, is wonderful as Lois, and tap-dances up a veritable storm in “Too Darn Hot,” resulting in one of the best numbers of the film. This, more than any other film Miller made during her Hollywood career, is the best showcase for her talents, and she definitely delivers the scene-stealing performance of a lifetime. Rall, sometimes overshadowed by Keel’s overwhelmingly masculine presence (yes, even in those tights), is nonetheless a charming scoundrel in the role of Bill. Wynn and Whitmore, as the befuddled, almost lovable gang heavies, are an utterly hilarious combination. And look for choreographer extraordinaire Bob Fosse in a brief, but brilliant, dancing cameo during the performance of “From This Moment On” near the end of the film.

Speaking of the dance routines, most of them (with the exception of Fosse’s self-created number) were choreographed by Hermes Pan, so noted for his multiple collaborations with Fred Astaire, particularly in the latter’s films with Ginger Rogers. The dance numbers, paired with Porter’s lively and well-written tunes, are spectacular—though viewers may be confused as to why the actors fling objects and even, on occasion, their bodies, toward the screen (as in Lilli’s song “I Hate Men,” where she throws a variety of things at the audience, or “Too Darn Hot,” when Lois tosses her necklace and gloves in our direction). This is because Kate was originally intended to be shown in 3-D, but as the film was scheduled to be released, the 3-D craze had begun to die down. MGM decided to release Kate in a standard “flat” version, and as far as I’m aware (correct me if I’m wrong), the 3-D version has never been widely released.

Kiss Me Kate is a Technicolor candy-coated delight from start to finish. The music, the dancing, the humor, the performances, the staging … everything about this film just seems to sparkle. Though the sometimes sexist themes can be a bit maddening—the scene in which Fred spanks Lilli onstage is particularly bothersome to me (though I must admit, it works in context)—this adaptation of the material allows Lilli to actually win a few battles, and she is, in the end, much more an equal to Fred than Kate is ever permitted to be with Petruchio in Shakespeare’s play. You know it won’t be easy for these two characters from here on out, but the film leaves you with the sense that both of them have reached a certain level of self-awareness (which is, truthfully, all anyone can really ask for). If their ending won’t be prototypically idyllic, Fred and Lilli have, at the very least, earned a “happily ever after” that is uniquely their own.

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An expert critical essay that starts off with one of the most frenetic and, dare I say, funniest opening paragraphs ever concocted for a WONDERS IN THE DARK post (the line about Baz Luhrmann’s upcoming film had me on the floor as I dread it as well).

While it didn’t make my ballot, I have seen KISS ME KATE several times and your critical analysis, I feel, is right on the money. As for the background and the history on the production, well, it’s alot of stuff I never knew.

Brandie, you have, once again, delivered a terrific essay and have made me hope you are to become a more regular contributor to the site.

Thank you very much, Dennis. I truly appreciate your comments. The formatting for this post didn’t quite translate from Word (“bastardization” in the first paragraph was supposed to be stricken-through), but I’m glad you caught my gist. I loathe Baz Luhrmann (sorry, Baz fans), and when I heard he was adapting my favorite book in the history of American literature, I felt my blood run cold.

I’m no fan of Baz, either, though I kinda admire “R + J” for what it’s trying to do, bringing the Bard to the MTV Generation (whether he’s successful is anyone’s guess– I think the movie’s a little full of itself). And “Midsummer Night”, though mostly a completely bland affair, is almost worth it for Kevin Kline’s portrayal of Bottom, especially his awakening monologue, and for the arc of the Mechanicals in general.

Brandie, another great post. I just watched this a couple of weeks ago for the first time in quite awhile and enjoyed it immensely. I watched it with a non-musical loving friend, and he enjoyed it as well, laughing out loud at several points. You certainly covered all the important points. The offstage-onstage setup–not original to this work, but in other works often too forced to be completely successful–works quite well here, with smooth shifts between modes. The songs, some of Porter’s wittiest and most melodic, and dances are top-notch. (It was great fun to see Bob Fosse and Carol Haney do that one dance you referred to–actually just part of a whole routine–so identifiably Fosse that it was almost a capsule version of his style. Surely he choreographed it himself.) I absolutely agree that this was Ann Miller’s finest hour. Her performance of “Too Darn Hot” is equaled only by “Shakin’ the Blues Away” in “Easter Parade.” Knowing it was filmed in 3-D made all that flinging of things like plates and scarves at the camera a hoot. Wynn and Whitmore made a great comic duo. I know a lot of people have trouble with the attitude towards the battle of the sexes in this play, but I always suspected Kate had the last laugh, turning her vinegar to honey and in the end controlling Petruchio through the path of least resistance–sort of psychosexual judo, using the opponent’s aggression to throw him off-balance. For me the weak link in the film is Grayson. Although she tries hard to play against type, she seems just too sweet to be totally convincing as a shrew.

Thanks for the feedback, R.D.! I know quite a few people don’t particularly like Grayson as Lilli. But personally, I think she does a good job of portraying the character. Lilli always struck me as more of a spoiled brat than an out-and-out shrew, and Grayson really captures that. I find it to be one of her strongest performances–she’s not nearly as annoyingly perky in Kiss Me Kate as she is in other movies like Anchors Aweigh.

It’s interesting to consider the idea that TotS’s Kate may have been manipulating Petruchio through her acquiescence to his “taming.” I’ve always been torn about whether to consider the original play a farce or a statement in support of patriarchal dominance (surely Shakespeare wasn’t THAT misogynistic …). The spanking scene in KMK gets my ire up because, even though it is presented as a comedic moment, it’s still a man assaulting a woman just because she mouthed off to him. That doesn’t sit right with me. Fred’s lucky Lilli didn’t choose to retaliate in kind; all I know is, any man who would even attempt to spank me in such a manner would miss having genitals by the time I got done with him.

And Fosse DID choreograph his part of the dance. According to TCM, this small part led to his being given the opportunity to choreograph The Pajama Game for Broadway.

I’d certainly add the two Kotnisev films, Olivier’s 1955 RICHARD III and Welles’s CHIMES AT MIDNIGHT to the Bard’s winner’s circle, but I completely agree Brandie that with adapatations of his plays it’s hit or miss. You very well delineate that in your opening paragraph. KISS ME KATE nearly made my ballot, but as it turns out I couldn’t quite squeeze it in. I love Cole Porter exceedingly, but I’ve always felt that his work never transferred well to the screen. This film is unquestionably the one instance where the transference was respectable.

To answer your query about the 3 D, a version still exists, as I saw it myself several months ago with Lucille at the Film Forum’s 3 D Festival, and reported back here at WitD on the Monday Morning Diary. The print was lovely and teh process eye-catching, if not essential. Keel and Grayson, as you note are splendid and a good number of the songs are memorable.

Again you have graced us with some exceptional writing and background information!

When I think of Porter what invariably comes to my mind is “Begin the Beguine” and “Anything Goes.” I’m not sure I can ascertain why Porter’s songs have never been applied to a great film, as Sam mentions. Surely he’s one of the greatest song writers of all-time, so this is an oddity. I like this film, but always felt it could have been so much greater.

Wonderful post, so enjoyble to read. Your love of the film is infectious and I like all the background information your provide. Cole Porter’s songs are, of course, wonderful and the dancing is divine. I agree about Keel and Grayson; I always thought they had marvelous chemistry together. In fact (and I’ll probably be stoned for saying this!) but I think they were better choices to play Gaylord Ravenal and Magnolia in their version of “Showboat” than were Allan Jones and Irene Dunne in the earlier, much more critcally lauded version.
Oh, and your introdcution was to this piece was great, too. I think if we were doing a “worst Shakespearean musicals” list, Brangh’s misbegotten “Love’s Labour Lost” would have to go right to the top – definitely one of the ‘misses’ in the annals of Shakesepeare film adaptations.

And I’m completely with both of you (Judy and Pat) on that astute judgement. I know some are down on MUCH ADO ABOUT NOTHING, but it’s fair enough to my eyes and ears, even with the Americans in the cast.

Another terrific comment BTW Pat, especially in framing Keel and Grayson. They may well have been fantastic had they been cast in SHOWBOAT, irregardless of the stellar results with Jones and Dunne.

Brandie, your summation of this film is enjoyable as the film itself. I’ve never been a great fan of 1950s Hollywood musicals (sexism is one of the factors, as you allude to) but have to acknowledge that this particular film has some entertaining scenes. As you mention, this is one of Ann Miller’s greatest moments on film and explains her enduring popularity.

And thanks (!!!!!) to the person responsible in the sidebar for the tip o’ the hat to my beloved France!!!!! And the link to the Too Darn Hot is delicious.

Hi! Sam Juliano, Allan, Bonjour! Pierre de Plume and WitD readers…
Hmmm…ma mère loves musical and she “introduced” me to this musical and if I re–call correctly, (Since I own a copy Of this film, but I have only watched this musical twice in my life-time…Most importantly, I haven’t watched too many films in which actress Kathryn Grayson appeared…with that being said, I do think that her characters were always depicted as sweet and singing operatic tunes. Therefore, this “musical” role may have been considered somewhat Of “stretch” for actress Kathryn Grayson.)

Now, when it comes to the musical “Kiss Me Kate” I think that actor Howard Keel’s character Fred Graham, who is also to star as Petruchio, spanked Kathryn Grayson’s character legendary actress/singer Lilli Vanessi (Who appeared pretty head-strong and feisty with a mean left/right hook…on/off stage too!) when in character and only while on–stage…Because I think in one scene in her dressing room she tried to hit him with a hairbrush or give him a right-hook to the jaw…or threw something at his head.

My point is this it seems that he had to get even with her when given the opportunity…Hence, the reason he spanked her “doubly” hard when in character [and with that scene being written in the storyline Of the Shakespearean play…Petruchio spanking Of, Kate, The Shrew] because he knew that she wouldn’t allow him to put a hand on her while off-stage. (He knew that she had such a “fiery” temper on/off stage that she wouldn’t allow him to put a hand on her otherwise…She most definitely, was no“shrinking” violet.)

Or she probably would have asked Tex Callaway, her (Lilli) on-again/off again cattle baron fiancé, to “shoot” him for her or worse she probably would have taken the gun from Tex and shot him herself…lol)

Therefore, while on–stage and when in character knowing that she couldn’t retaliate against him he spanked away…“perhaps? “

[postscript: Oui, Pierre de Plume I quite agree with you that actress [Ann] Miller number is only one Of many show-stopper in the film too!]
deedee ;)

Another most interesting observation and stupendous comment, which of course probes deeply into the Shakespearean source! Kate is absolutely no shrinking violet! I remember ‘ma mere’ has a taste for musicals and over the years introduced you to a number of them, including KISS ME KATE. Agreed too on Ann Miller!!!

Super essay on a very fine musical. I’ve watched this in the last few months. I love the colors and song and dance numbers are great. Hermes provided great choreography and Ann Miller especially is a treat here. Her tapping in the Too Darn Hot scene is amazing. Also of note, Bob Fosse has a small role in the film, which is interesting for those who like Cabaret, which he later directed among other things. I think the 3-D thing is a bit silly, as is the gangster subplot, which is funny but goes on too long for me. Ultimately there’s too much to like here though and Keel and Grayson are very fun together. It’s Miller that I remember most though. She’s amazing.

Another superlative Jon Warner comment, that again raises the bar in discussion. Great points about Fosse’s appearance, Miller’s dominance and the arbitrary quality of the 3D and gangster subplot.

I see you have what appears to be a tremendous essay up on the seminal musical “On The Town”, which will also be covered on the WitD countdown by Pat Perry. I urge all readers to head over to FILMS WORTH WATCHING (where I will head myself over the weekend) to read Jon’s great essay.

Well Sam thank you for the very kind words as always. Catching up on so many musicals has definitely led to some great findings and good education in rounding out my appreciation for the genre, which has only been enhanced over the summer.

Great piece, Brandie – I was amused to hear this was originally made in 3D, and fascinated that Sam has actually seen it in that format at a 3D festival. I love Cole Porter too and it’s a pity that his songs so often got chopped out of films. On the bowdlerising of lines in ‘Kiss Me Kate’, apparently ‘According to the Kinsey report’ was changed to ‘According to the weather report’ in ‘Too Darn Hot’!

I did appreciate the opportunity to see this in 3D, though it works just as well in conventional form. I’d say the Technicolor is bolstered by the added perspective, and the eyes are obviously engaged to the max. Great point too on Porter and completely agreed.

Hi! Sam—
You know I thought that 3-D was created to bring movie-goers Of the 1950s back into the theatre with the invent Of television. [ i.e. Studios that used CinemaScope…to leer audiences back into the theatre with their wide-screen spectacles ] However, that isn’t mentioned in the Wikipedia article…Here: 3D Films
With that being said, here goes what the article had to say about the 1953 film…“kiss Me Kate”…“In December 1953, 3-D made a comeback with the release of several important 3-D films, including MGM’s musical Kiss Me, Kate. Kate was the hill over which 3-D had to pass to survive. MGM tested it in six theaters: three in 3-D and three flat.[citation needed] According to trade ads of the time, the 3-D version was so well-received that the film quickly went into a wide stereoscopic release.[citation needed] However, most publications, including Kenneth Macgowan’s classic film reference book Behind the Screen, state that the film did much better as a “regular” release. The film, adapted from the popular Cole Porter Broadway musical, starred the MGM songbird team of Howard Keel and Kathryn Grayson as the leads, supported by Ann Miller, Keenan Wynn, Bobby Van, James Whitmore, Kurt Kasznar and Tommy Rall. The film also prominently promoted its use of stereophonic sound.”
deedee ;)

Speaking of 3D, I just got in from the Edgewater multiplex, where I saw THE LION KING with my son Danny in 3D!!! (actully I watched MY IDIOT BROTHER as the first part of the afternoon double feature) THE LION KING looked exquisite of course, but the form wasn’t really needed, and is strictly a money-making proposition. The ravishing color and gorgeous animation needs no enhancement of any kind. Anyway this animation masterpiece was the week’s true highlight in a prolific run of multiplex fare.

Anyway, I had the same idea as you did as far as the creation of 3D. I must appreciate that report as to what was intended with the KISS ME KATE 3D release. I don’t dispute it at all.

Thanks, everyone, for the great feedback on this article and my other contribution (Pinocchio) a couple of weeks ago. I’m so pleased to have had the chance to contribute to this wonderful countdown, and I’m looking forward to the upcoming pieces (focusing on some of my very favorite movies of all time!) as the list counts down to numero uno. :)

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Wonders in the Dark is a blog dedicated to the arts, especially film, theatre and music. An open forum is highly encouraged, as the site proctors are usually ready and able to engage with ongoing conversation.